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When the bee finds the kursa, the bee brings it to Hanna-hanna. The Mother Goddess makes three springs; at one is an ippya-tree, at another a bowl, and at the last a fire is kindled. in this grove are three springs and an ippiya-tree.
The kursa is either hung upon an oak or is laid in the bowl. The time of need is ended with the return of the kursa
it is not clear whether Telepinu was also the son of the Sun Goddess of the city of Arinna, or of Ḫannaḫanna, the mother of all Hittite gods—including the Storm God. Despite the potential ties with these goddesses and with the tutelary god of Ḫatti, Telepinu has not been easily placed in the Hittite pantheon, and this has led to very divergent hypotheses about his nature, as well as about his myth
Telepinu too went into the moor and blended with the moor. Over him the ḫalenzu-plant grew. Therefore barley and wheat no longer ripen. Cattle, sheep, and humans no longer become pregnant. And those already pregnant cannot give birth.
As societies equate in the “mythical discourse” the house with the body and the cosmos, the crisis mentioned in the myth seems to spread out towards the whole cosmos.
You, O bee, should look for Telepinu. And when you find him, sting him on his hands and feet. Make him stand up. Take wax and wipe off his eyes and his hands. Purify him and bring him back to me.’”
...the bee searched the high mountains; it searched the deep valleys; it searched the Blue Deep. The honey was exhausted in its interior, But it found himin a meadow in the town of Liḫzina
“I have just sprinkled your paths, Telepinu, with sweet oil. Set out, Telepinu, on paths sprinkled with sweet oils.
Telepinu came back home to his house and took account of his land. The mist released the windows. The smoke released the house. The altars were in harmony again with the gods. The fireplace released the log. In the sheepfold he released the sheep. In the cattle barn he released the cattle. Then the mother looked after her child. The sheep looked after her lamb.
And Telepinu too look after the king and queen and took account of them in respect to life, vigor and longevity
When they took Heaven and Earth, the gods split up; the upper gods took Heaven, but the lower gods took Earth and the Netherworld. Everyone took its own. You, O river, took for yourself purification, life of progeny, and procreative power. Now, because someone says to someone else: it is terrible, then he goes back to you, O river, and to the Fate-goddesses and Mother-goddesses of the river bank, who create man
The Stormgod of Nerik descends through his “beloved spring” to his mother in the underworld,and also the goddess of the underworld emerges from a spring to the upper world
May Telepinu’s anger, wrath, sin, and sullenness depart. May the house release it. May the middle… release it. May the window release it. May the hinge release it. May the middle courtyard release it. May the city gate release it. May the gate complex release it. May it not go into the fruitful field, garden, or forest. May it go the route of the Sun Goddess (of the Dark Earth).
To Nergal, the Enlil of the nether world, in his palace, the shepherd Ur-Namma offered a mace, a large bow with quiver and arrows, an artfully made barbed dagger, and a multicoloured leather bag for wearing at the hip.
In Neo-Assyrian art, objects resembling a pine
cone and a bucket (or occasionally a bucket
alone) are held as attributes by a number of
different genies, often in association with the
stylised tree; the 'cone' is held up in the right
hand, the bucket held down in the left. Only
very rarely are these objects held by figures
which might be interpreted as entirely human;
almost always they are held by genies or
human-animal hybrids (see demons and
monsters). As well as in front of the stylised
tree, the bucket and cone are seen held before
floral decorative elements, guardian supernatural
figures, the king or his attendants, or
open doorways. The cone has been interpreted
as a fir cone (Pinus brutia), as the male flower of
the date palm or as a clay object in imitation of
such. The bucket has been thought to have
been of metal or wicker, and to have contained
either water or pollen (see stylised tree and its
`rituals'). Written sources on the matter are
few, but it seems clear that the bucket and cone
were associated with purification, for they are
known respectively as banduddû (bucket) and,
significantly, mullitu (purifier), and figurines 11
of genies holding these attributes were among
the types placed within buildings for protection
from malevolent demons and disease (see
building rites and deposits; magic and
originally posted by: Kantzveldt
a reply to: Marduk
You can do what you want, but it's hardly simply a Sumerian concern when seemingly everyone from Jiroft was buried with a similar looking object to those seen in Northern Mesopotamia, which are generally Assyrian anyway and thus post-dating the Hittites, there also being considerable Hurrian and Mitanni input into the traditional representations of that period.
originally posted by: Kantzveldt
a reply to: Marduk
Alright i simply hadn't realized that the 3rd millenium culture of Jiroft was simply hundreds of years too late to be meaningful..., now i can understand why you simply refuse to read anything regarding the Hittites and insist upon the exclusivity of Assyrian representation, i should just go read Jeremy Black and seek forgivness...to be honest though i'm starting to realize why Telepinu thought sod it.
Jiroft's heyday was from 2500 B.C. to 2200 B.C
Modern historians have suggested that Sumer was first permanently settled between c. 5500 and 4000 BC by a West Asian people who spoke the Sumerian language
The original homeland of the Kassites is not well known, but appears to have been located in the Zagros Mountains in what is now the Lorestan Province of Iran.
9 However, to Durand it seems that different societies focus their imagination on one of these two regimes:
modern “Western” societies tend to represent reality according to the family of “daytime regime” symbols,
whereas “mythical discourse” societies do so according to the “night-time regime.”
Durand 2000: 98, 104-110; Durand 2004: 372; Franzone 2005: 121-131.
Further supporting the hypothesis that this myth assures the future wellbeing previously not granted by this god, there is a very meaningful mention of the planting of a tree. The TMI reads: “Before Telepinu stands an eyan-tree (or pole). From the eyan is suspended a hunting bag (made from the skin) of a sheep. In (the bag) lies Sheep Fat. In it lie (symbols of) Animal Fecundity and Win. In it lie (symbols of) Cattle and Sheep. In it lie Longevity and Progeny.
Durand’s analysis of the symbolism of trees (originally associated with fire, the sacrificial element par excellence providing total destruction and rebirth), reveals how they are associated to the idea of transcendence, of death followed by resurrection. In this sense, as Durand suggested, the tree conjures up the drama of death followed by resurrection. Furthermore, Durand’s description of the meaning of trees is in accordance with the ideas of eternity, continuity, well-being, and prosperity the Hittites ascribed to this tree—an oak, fir or perhaps fruit tree
Thus, forced to leave a space symbolically linked to the idea of a telluric uterus, the god is led by the persistent action of gods and men to grant eternal life to the cosmos, along with all his virtues. In fact, this myth not only narrated how the gods originally restored order in the sacred places—and, consequently, how men could do so in chaotic situations by ritually actualizing this myth—but also the rebirth of the god. Furthermore, it brought the previous chaos to an end, a fact linked to the new mode of existence of the god. I refer specifically to the god’s ability to give eternal life and permanent well-being to the Hittite kingdom.
In order that the Hittite world acquires these qualities, the myth presents a large number of images alluding to a new beginning, such as the embryonic situations of Telepinu. Among these images, sleep is especially important, for even if Telepinu is not a god who dies, the presence of sleep, so closely bound to the symbolism of death, lead us to think that after the “chaotic stage” a new situation began for the god, as for the whole cosmos.